Up until the current MARDUKITE efforts and work of Joshua Free, few of the publicly visible “New Age” writers and occult spokes-people really had much to say concerning the SIMON NECRONOMICON – many of them wishing it would just go away, or at the very least, that people would stop bothering them about it.

Needless to say, in the post-Lovecraftian world it was, up until the MARDUKITE efforts, the only of the ‘possible versions’ available to the public that was of ‘true’ and ‘authentic’ merit in regards to a historical tradition. Many people criticized the SIMON NECRONOMICON for not being Lovecraftian enough – which was interesting, since the same people also said that the book had been invented by Lovecraft.

NEW FIFTH ANNIVERSARY 2ND EDITION OF LIBER-555!

“The debate over the title of the work has never been satisfactorily resolved by or to anyone. The use of the term
by Lovecraft already comes from questionable sources (presumably his own dreams) – and why it should appear on an allegedly 7th-8th century manuscript is also unsettling, even assuming such to even be true. We have no real reason to believe that the Simon work should have held such a title, nor is the book ever referred to as such in its corpus. Therefore, the title itself may have been fabricated.” — explains Joshua Free in “Crossing to the Abyss: Unveiling the Secrets of Simon’s Necronomicon“br />

“It may be the manifestation of a tangible book – wholly obscure for its time – with the title across the front: Necronomicon – is what really launched the success of the book (contents aside). For many, the chances to own and possess such a legendary work was a dream come true. But as with many dreams and wishes, the dreamer does not always know what is for their own higher good. As soon as the Necronomicon was celebrated or coming into being, it was just as quickly renounced for its existence – and not simply by the right-wing and others you would normally expect, but by the same pulp-fiction fans who rejoiced in its arrival!”~ Liber-R, Necronomicon Revelations.

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This current discourse (Liber 555) is an expert commentary on the Simon Necronomicon as it appears – meaning a bastardized tradition emerging from the catacombs of ancient “Mardukite” Babylon. What we do not see evident, as we should expect (and clearly what threw many people off the track) is the lack of Lovecraftian themes in the Simon Necronomicon. Any mention or similarity within the text of the Simon work as compared to the ‘stories’ of H.P. Lovecraft is most likely the ‘creation’ of the modern editors in order to market their Mesopotamian Magic as the Necronomicon.

“For the moment, the current truth seeker will simply have to take the work at face-value. We can concur that the semantic title – Necronomicon – may very well be the creation of an early 20th century writer and that no such book, as he describes it, may exist verbatim. Assuming this, we might be quick to disregard any and all resources that bare this title – something which our own critics are often likely to do – but this is again, folly – and the human spirit should not be so easily ‘led about’ in their understanding based on the ‘languages’ and ‘title semantics’ adopted.”

In these types of post-Christian era accounts, such as we see with the Medieval and Dark Age era grimoires of the period, the magick and traditions are reflective to a ‘polarity’ that does not actually exist. For example, the entire idea behind ‘devil worship’ and ‘satanism’ is entirely dependent on the existence of these beings as they are generally understood – something which only came about as a result of the Judeo-Christian level of consciousness that came to occupy the masses. Prior to this ‘introduction’ of the ‘devil’ by Christian standards it would have been completely impossible to have proper ‘devil worship’ or satanism. The entire mythology that people are most likely to know regarding these matters is Hebrew and Christian in origin, making suggestion toward an understanding of the world based on a moral or ethical dualism that is not at all present in the traditions and writings of the more antiquated ancient world.

Unveil the secrets of Simon’s Necronomicon by expert occultist Joshua Free in the new Fifth Anniversary 2nd Edition of Liber-555: CROSSING TO THE ABYSS

After the rise of the Hermetic Order of the Golden Dawn in the late 1800’s (and perhaps also such groups as the Theosophical Society) the metaphysical world of the mystics would seem to begin appearing in the public spotlight, or at the very least carry an illusion of being maintained in public view…

…with this followed the widespread use of medieval grimoires – many of them somehow involved with figures like MacGregor Mathers and Aleister Crowley. Organizations relating to these individuals, such as the GD (Golden Dawn), OTO (Ordo Templi Orientis) and the lesser known AA (Argentium Astrum) begin to influence mystical practices and underground traditions among the multitudes on the surface world.

Naturally we are concerned foremost with the content of the Babylonian derived Necronomicon Anunnaki Bible of the Mardukite Chamberlains and its interconnected relationship to the Great Mysteries. However, the association of modern pseudoepigrapha (literally artificial writings) is not limited simply to a book called the “Necronomicon” – for such is just a name, as is “Al Azif” – or anything else we want to definitively give a solid form too – that which cannot be solidified – that which has not meant to be solidified…

“El Club Dumas” was released in Spain in 1993. The American English-speaking audience would have to wait three years to find “The Club Dumas” on their shelves. The literary version by Arturo Perez-Reverte became doomed to be lost amidst the mysteries of Agatha Christie and Sue Grafton and did not receive the same pop-culture attention as its motion picture under a different title.

The main character of the novel, Corso, set in a dusty environment of Antiquarian book-selling, is on a quest to uncover the truth of a lost fragment or chapter of the serial by Alexander Dumas, the famous “Three Musketeers”. In the course of events, Corso is culled into a different kind of quest… and there are surprisingly more people aware of the influence of this modern tale then you might originally suspect, for it is also known by another name – the name:

From its Spanish edition we deduce the title “Nine Doors to the Kingdom of Darkness,” though the American language version prefers “Gates” to “portals” – and thus too, the “Shadows” to the “Darkness.” American audiences are also more receptive to video media then literary and thus was probably the inclination Roman Polanski carried with him in filming “The Ninth Gate” with Johnny Depp, released in 1999. Depp’s performance is astounding as always and the woodcarved engravings that are so paramount to the film are taken directly from the illustrations found in Reverte’s novel.

It would surprise many occultists to note that the vein of pseudoepigrapha runs deep within the mystic stream – reaching all too familiar works as the “Keys of Solomon” or even the “Book of Abramelin” – it comes by no surprise that we should see the rise within this age of more tales of such “books within books” – “fantasies about fantasies” – for we have undoubtedly reached our ends in the world of Light and must by necessity reach out to the Shadows…

Assuming the lore of the Nine Gates, let us say that the work is based on yet too another book – furthering our psyche down the literary rabbit hole.

The DELOMELANICON (which is unarguably another vision of the Necronomicon Cycle) is a book reported to have been written by the “Devil himself” as a guide to “his followers.” The work, said to have once been in the possession of King Solomon, reaches the realm of Medieval Sorcery in 1666 by Aristide Torchia, who publishes his version of the “Devil’s Notebook” as “De Umbrarum Regni Novem Portis.” Both Torchia and all but three copies of this work are burned by the Church.

The title, “Delomelanicon,” the current editor translates to mean “Book of Summoning the Darkness” (very similar to the coveted but equally fantasy-based witches Book of Shadows) although some Chamberlains have preferred the translation “Invocation of Darkness” [as given in the Soto translation to English].

If we lend a thought to this for a moment, leaving the trappings of semantic vocabulary and verification of medieval sorcerer’s grimoires aside – consider a book then that has been given to a class of followers of an entity contrary to the accepted “God On Duty” – considered a devil to one side and a savior to the other.

Immediately, when thinking of the politics that arose in ancient Mesopotamia, beings like MARDUK and ENKI are immediately conjured to mind – or some specific alien intelligence that might have reason for leading folks back through the Gates. And if they would indeed be hidden in folds “between” the Realm or Reality of Light we see everyday, then they would most certainly belong to the Shadows – and the spaces between spaces.

The archetype conjured to mind by the “Nine Gates” is very similar to the Necronomicon. There is, at the very least, an obvious emphasis on the symbolism of “portals”, “thresholds” and “gateways” – such as is inseparably paramount to this lore. Following the esoteric and occult traditions, the “Gates” are introduced to the Seeker under the guise of “Darkness,” because such was (and remains to be) the perception of what is “forbidden” and “hidden” knowledge – at least from the perspective of the Realm of Light…

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